________________
308
Prakrit Verses in Sanskrit Works on Poetics
22. Kuntaka in the course of his exposition of the nature of kāvya (poetry, creative
literature) dwells upon the relation of the word and meaning (sahitau) - a unique kind of togetherness. This uniqueness lies in the presence of striking gunas (qualities, excellences) and alaskāras (figures of speech) competing with one another in lending beauty to (or producing charm in) the stanza or passage (or piece of literary composition).
In the verse under discussion we have the figures Aprastutāprasaṁsă and Upamā, the effortless execution of striking Yamakas and Anuprāsas and the guna lucidity (Prasāda) — all these delight men of taste in a unique manner on account of the unique kind of togetherness (sahitya) between word and meaning.
23. Kuntaka speaks of another kind of aucitya (propriety) besides the usual, well
known one. In this second kind of aucitya the matter in hand is concealed, as it were, by reason of the exceedingly charming nature (svabhāva) of either the speaker or the pramātę (one who has experienced, has perceived). After citing this example Kuntaka thus comments on it: अत्र कस्याश्चित् प्रमातृभूताया: सातिशयभौग्ध्यपरिस्पन्दसुन्दरेण स्वभावेन वाच्यमाच्छादितमौचित्यपरिपोषमावहति । पृ. ६९
24. This Skandhaka is already dealt with; vide DHV S.No. (18.9) supra.
Kuntaka is firmly of the opinion that when a subject is described as abounding in natural beauty or grace (e.g., the budding youth of a maiden, the advent of spring, etc.) it ought not to be burdened with additions of alamkāras. He illustrates his point of view with six examples, one of which is the present Skandhaka stanza.
25. This gātha is already dealt with; vide DHV S.No. (43.14) supra. Kuntaka cites
this gåthå as an example of Kala-vaicitrya-vakrată (beauty in the speciality of time). By 'time' is meant (the present) tense, etc. A separated lover mourns: Before long the roads will become impassably inaccessible even to one's wishes (manorathas). The future termination (in bilera Hora) is really expressive of unique beauty.
26. This forms the fourth line of the Apabhramsa passage already dealt with; vide
